All those artists supposedly “saving” country music often do so by bringing in non-country elements, from Sturgill Simpson’s psychedelia to Kacey Musgraves’ disco flair. But on new single “Different Tomorrow Night,” Eastern Mountain Time saves country music by playing the genre right down the middle. Songwriter Sean Hood describes Eastern Mountain Time as only a “sorta-country band,” but on this track (and on my favorite song from his last album), he leaps all the way in.
Vermont quintet Fever Dolls’ debut single “Gennifer Flowers” ranked second on our Best Songs of 2018, and now they’re back with a follow-up: “Adeline.” Never short on ideas, the band packs a lot into under three minutes. In this case, an entire piece of musical theatre written in miniature, plotted around a husband and wife both in love with the same woman.
“[Singer Renn Mulloy] and I spent years playing in different bands with people that wanted to make Radiohead’s Kid A,” says songwriter Evan Allis, “while we were trying to make Disney’s The Kid.“
Adaline – Genese’s Song
“Genese’s Song” sounds like a Simon & Garfunkel tune recorded on the Mountain Goat’s early tape deck. Like Adaline Bancroft’s entire album, there’s a hiss and fuzz (the songs were indeed recorded on a four-track tape machine) that adds a haunting distance from the music. It feels like unearthing a dusty old recording, weathered with time, but with the tenderness and beauty shining through the decay. Fellow folkie Eric George joins on upright bass for this song, though that’s an instrument the tape recorder can’t really capture.
Vermont multi-instrumentalist Katie Trautz has been recording other people’s music for a decade. But, until now, never her own.
She plays fiddle in a host of of local bands, from country music group Wooden Dinosaur to Cajun duo Chaque Fois. She sang in vocal choir The Bright Wings Chorus, and wrote a book a couple years ago teaching harmony singing to kids. She co-founded the Summit School of Traditional Music and Culture in Montpelier, and teaches violin in her spare time.
I only stepped foot in Vermont once this year.
That’s the dirty little secret of this blog (well, not that secret; it says it right on the About page): I don’t live there. Haven’t since I started doing this last year.
That’s going to change when I move back in the spring, but the aim of the site won’t. I conceived of County Tracks as helping to expose the best music created in Vermont to non-Vermonters. In the digital era, it’s easy for an expat dedicated enough to follow any local scene from afar. What’s trickier is getting great local music heard by people who have no reason to care about the category of “Vermont music.”
This ties into a broader problem. The glut of choice of streaming, rather than leveling the playing field, has mostly helped the famous get more famous. Yesterday’s Wall Street Journal had a Billboard staffer claiming Drake was “bigger than the Beatles” because all 25 tracks on Drake’s new album appeared on the Hot 100 simultaneously. I won’t even get into the “bigger than the Beatles” nonsense (come on). The more important point is that, overwhelmed by choice, listeners are gravitating towards what they know. No matter how many times a digital music CEO says the word “discovery,” actual music discovery seems harder than ever.
I don’t know if any of the artists below are blowing up Spotify playlists, or whether any computer algorithm is pushing them on users. But they deserve attention. Great music happens beyond the big cities and big labels; it just needs exposure. In my small way, I hope these lists help a little. There’a lot of great music being made in Vermont. More people outside Vermont – people like me – need to hear it.
I tried to discern some overarching theme with this year’s Best Songs list. One has to write something in these intros, after all. I never came up with one (other than that the songs are all, you know, good). But maybe that diversity itself offers a narrative thread.
The only thing many outsiders seem to associate with Vermont music is jam bands. Mostly one jam band, really. Now, I’m sure learning that Vermont has other genres wouldn’t surprise any outsider. But learning that the music being created in those genres is equally vibrant – and equally supported by the local music scene – might.
This summer, Nine Inch Nails released Bad Witch, originally billed as the final EP in a three-EP trilogy. Only Trent Reznor said upon release that, even though it only contains six songs, it wasn’t an EP after all. “Want to know why it’s being labelled an LP instead of an EP?” he wrote in response to a fan questioning the change. “EPs show up with singles in Spotify and other streaming services = they get lost easier. EPs feel less important in today’s music-isn’t-as-important-as-it-once-was world. Why make it easier to ignore?”
In the digital-music era, the boundaries between an LP and an EP are porous at best. Bands can mostly decide for themselves what to label a release. Some artists have begun calling their EPs “mini-albums” (which is not a thing). Kanye West produced a series of seven-song projects this summer, few topping 25 minutes. None were labeled EPs. In the physical media era, there were concrete differences between an album, EP, and single: size, price, etc. Now it’s a free-for-all.
Rock has a storied history of songs about life on the road, from “Turn the Page” to “We’re an American Band” to half the Creedence Clearwater Revival catalog. But these chronicle the journeys of successful touring artists. You won’t find as many road songs by baby bands nowhere near their first Odyssean mega-tour.
The Giant Peach has stepped in to fill that void. Their new song “I-89” is less life on the road than life on a road: Interstate 89, which runs through band leader Harrison Hsiang’s Burlington, Vermont home base. “I-89” chronicles a less-celebrated – but more common – side of live performance: the hustling young musician’s lone drive home late at night after a one-off gig in some remote outpost.
Reid Parsons wasn’t nervous by the time she stepped on to the competition stage. Sure, she was nervous before her slot in the (deep breath) 2017 Advance Music Acoustic Singer/Songwriter Contest Finals. Her solo performing experience was pretty sporadic, the occasional gig for tips here and there. Few knew her songs, since she couldn’t afford to record them. Then, on top of that, contest organizers told her minutes before that she’d have to fill fifteen minutes instead of the five she’d prepared. But she regained her confidence and sang some of the songs she’d been carrying with her for years.
“I knew I’d slayed it,” she says in an email. “That’s not being conceited or proud; that’s knowing what a good performance is. I have my fair share of poor performances, but I love performing under pressure and rising to the competition, and I did that night. I wanted that prize so bad.”
She won it, and, if the songs she performed then sound anything like they do now, I can’t imagine anyone else was even close. And without her victory that evening, we might not have one of the most fully-formed debuts of the year. The prize included two free days at a local Vermont studio, and the Reid Parsons EP she recorded there sounds like someone preparing half their life for this moment – which this 25-year old has, writing songs since age 13.
Though she hadn’t recorded before, Reid Parsons hardly sounds like the work of a first-timer. One song (“Charlie,” which I’ve already raved about elsewhere) features Faulkner-esque shifts of narrative perspective. Another (“Not Ready to Return”) switches genres halfway through, beginning folk and ending somewhere close to gospel.
Parsons cites some standard influences for a singer-songwriter, artists like Jason Isbell and fellow Vermonter Grace Potter. But a more unusual influence seems equally informative: slam poetry. Through high school and college, Parsons competed in slam competitions on a national level before growing disillusioned with the scene. So if the songwriting chops on Reid Parsons bely her professional inexperience, she has deeper wells to draw from. Just listen to the opening lines of “Not Ready to Return”:
One by one, all my bones break
Ashes start rising up like hell’s snowflakes
Somehow I’m not reborn
Just standing in the wreckage of this unnatural storm
Three original endings got discarded before she landed on that song’s cathartic finish: a repeating gospel chorus that may be the single best moment on the EP. “I hate strong resolutions in songs, because they’re so final,” she writes, “so [producer] Yasmin Tayeby and I worked really really hard on the ending to come up with something that was powerful but didn’t have all the instruments/voices resolving simultaneously.”
Having been amassing songs in notebooks since she was barely a teenager, the EP her contest prize enabled her to record show only the beginnings of her promise (and one of the songs she performed at the contest still awaits a proper recording). She’ll surely be playing bigger stages, and winning bigger prizes, soon.
Buy the ‘Reid Parsons’ EP here.